Los Angeles Times' Scores

For 10,045 reviews, this publication has graded:
  • 57% higher than the average critic
  • 5% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 1.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 I Am Not Your Negro
Lowest review score: 0 The Hottie & the Nottie
Score distribution:
10045 movie reviews
  1. That the film is neither a true triumph nor a total disaster makes it somewhat difficult to justify revisiting "Brideshead," apart from the hope it will inspire someone somewhere to pick up the book.
  2. Forbes pushes the positivity a bit insistently, yet one of the most appealing aspects of her film is its depiction of kids thriving in an unorthodox household.
  3. Adept at wringing maximum suspense and might have reached the heights of the Korean monster film "The Host" but for the limitations of the camcorder ploy. While it injects the film with a run-and-gun urgency, the device grows tiresome and ultimately leaves the film shortchanged.
  4. The sophistication gap between the character Cheadle has created and the film that contains him is so great it begins to feel like you're watching two different stories that have been unaccountably spliced together.
  5. It all leaves "Drewe" and its often jarring turns of motivation and tone - feeling haphazard and cartoony, and the whole thing more a vibrant mess than something comically disarming.
  6. The Road is a road you'll wish hadn't been taken. Not because anything's been badly done, but because there's a serious imbalance in the complicated equation between what the film forces us to endure and what we end up receiving in return.
  7. Deeper socio-historical context and a more electric approach could have helped us better appreciate the far-flung impact of this visionary artist.
  8. There are some blunders on The Road to Guantanamo. The movie front-loads its first-person accounts with a short list of facts to keep in mind as we watch, creating an imbalance that serves only to undercut the movie's overall credibility.
  9. Though everyone tries her or his hardest to make it otherwise, this is by definition a place-holder film that exists not so much for itself but to smooth the transition from its hugely successful predecessors to a presumably glorious finale one year hence.
  10. How much filmgoers enjoy it may depend on how much they enjoy the mixture of smugness and naivete in a college sophomore.
    • 64 Metascore
    • 60 Critic Score
    There may not be a moral, but it's a fascinating human story, one that The U.S. vs. John Lennon only begins to tell.
    • 64 Metascore
    • 40 Critic Score
    Lurie spins off into invention like a "Law & Order" writer on deadline, scrambling the issues so thoroughly it's no longer clear what, if anything, the movie is meant to address.
    • 64 Metascore
    • 60 Critic Score
    As it is, Wrestling With Angels is neither compelling enough for people with little knowledge of the playwright's work nor insightful enough for those of us who have followed his career closely.
  11. Payne cops out, and the result is off-putting, despite a sparkling cast headed by a fearless Laura Dern in the title role.
  12. The film's greatest asset and strongest selling point is the former senator from South Dakota himself, thoughtful and articulate at age 83, who talks candidly, even eloquently, about his political career.
  13. There is never a sense that The Fall exists for any reason besides simply being something nice to look at. Yet no matter how good-looking a film may be, if it's as sleep-inducing as this, there's simply no point.
  14. Somehow when State of Play should be at its stomach-clenching best, the tension simply evaporates.
  15. Too gingerly to be persuasive.
  16. In the role of dramaturge, Rogen and his co-scripter Goldberg lack Apatow's discipline and deft hand for peripheral characters; the writing in Pineapple Express gets lazy whenever it strays too far from its central axis of players.
  17. The two men collaborate so well, in fact, that the real love match of Appaloosa is between the two of them and no one else.
  18. Reinforcing the adage that looks aren't everything, the live-action animal drama Arctic Tale arrives in an impressive visual package and even boasts a timely message, but its undistinguished storytelling is a big letdown.
  19. Though there is heroism as well as love here, because it involves the deaths of people we have come to care about, Everest is finally a sad story, though not always a dramatically involving one.
  20. Light, frenetic and anecdote-rich, it's the kind of back-patting Hollywood toast to the guy behind the guy that's breezy good fun if you don't examine it too hard.
  21. The movie nicely captures the area around Baldwin Hills, is crisply written by Kriss Turner and portrays the upper-middle class black community seldom seen in mainstream TV and film. However, the characterizations, even the leads, rarely rise above archetypes.
  22. [Gibney's] chronicle informs rather than inspires, but it's a solid introduction to a fascinating figure.
  23. If director-co-writer Karim Aïnouz has set out to depict soulless gay lives, he has more than succeeded.
  24. A raunchy doodle, a leisurely and easygoing diversion that goes down easy enough but is far from compelling.
  25. For all its mosaic of nice details, Silverado is still a faintly hollow creation-constructed, not torn from the heart. For a generation of kids to whom the Western is a new adventure, there probably will be action and distraction enough to dazzle. Those who need to be deeply stirred by this redoubtable form will still have to wait: Silverado is good but not great. [10 Jul 1985, p.1]
    • Los Angeles Times
  26. If it were a parody of relationship-youth pictures, In Search of a Midnight Kiss would maybe be tolerable, but writer-director Alex Holdridge seems to be playing it with a straight face.
  27. Though it flirts with the hard-core, there is something strangely flaccid about Shortbus, a ragged, uneven quality that, however purposeful, makes it feel less than fully formed.

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